This kit includes:

• 2 StarFlash 300 strobes
• Medium LiteDome soft box
• 45" RUT Convertible Umbrella
• 6" Umbrella Reflector
• 2 - 2214 LiteStands (8')
• StarFlash Connector
• Single Kit Case

For the following lesson the ISO was set at 100, the lens aperture was set at F6.3, as we wanted a fairly wide aperture to allow the background to go out of focus. The strobes were set at about 1/2 to 1/4 of their power, in order to be able to use a wider open aperture. The focal length was 70mm and the subject was placed several feet in front of the background. This kept the background out of focus and kept shadows from falling on it.

Simple Portrait Lighting Setup

First, the Medium LiteDome was positioned as a key light (the main light that defines the features of the subject). The LiteDome was placed at approximately a 45 degree angle to side of camera with the center of the light a little above the head level. We chose the camera left side of the subject for the key light, as we intended to turn the face into the key light so the shadow side of the face had more mass than the illuminated side. This has the effect of narrowing the face. Due to her hair style, we could not have used narrow lighting from the other direction without the hair blocking too much of the face. By turning her body away from the main light and then turning her head back toward the light, it also creates a nice feminine look while narrowing her figure slightly.

Since this is a head and shoulder portrait, the LiteDome was placed in a horizontal position to give more light spread across the face. The light was aimed in front of the subject, rather than pointing it directly at her. This method is called feathering the light [using the edge] and gives a soft wrap around quality to the light.

Figure 2 shows the effect of just the one key light. Notice the strong defining shadow.

The umbrella light was then set up on the opposite side of the camera as the fill light, but as close to the camera as possible, in order that the fill light look natural and not cause cross shadows. The purpose of the fill light is to “fill in” the shadow area to give shadows detail, without showing a direction to the fill light source. This is why it usually works best to have your fill light very close to or right above your camera. If the light was positioned at the same angle as the main light, but on the opposite side, it could cause a second unnatural shadow in the opposite direction as the key light.

Figure 3 shows the result of adding the umbrella fill light. Currently, this light is supplying almost the same intensity of light as the key light. In some cases, this type of flat lighting is desirable, but usually, a stronger shadow is desired to give the portrait a three dimensional look. To create the desired shadow, either the fill light needs to decrease in power, or the key light increase.

This is simple to do with the 5 stop variable control on the StarFlash. No need to move the light; just change the power setting. There is a switch that toggles the modeling light from constant power to variable power. In the variable setting, the modeling light will be dimmed proportionally matching the strobe power, so you can visually see the change in lighting ratio (contrast).

Figure 4 illustrates the effect of turning down the power of the fill light to change the contrast. Camera exposure should be adjusted to give the optimum histogram.

In Figure 5, a soft gold 32" reflector was added on the opposite side of the key light, behind and above our subject. The reflector bounced back the light from the soft box onto the hair and shoulder area, resulting in nice highlights to the hair and providing separation from the background.

Simple Profile Lighting Setup

A way to think about profile lighting is to walk the camera 90 degrees to the fill light side of the subject. In this set up, the key light was positioned behind & slightly above the subject on the left side.
See Figure 6.

With this set-up, the light points into the camera, so we placed a white reflector blocking the light from the camera while at the same time filling in the shadow area just enough to give detail, yet retain the dramatic lighting. (If you shoot with a film camera, blocking the light from striking the lens is much more important than a digital lens, as the film camera lenses would be much more sensitive to light flare).
See Figure 7.

Next, the umbrella was positioned on the opposite side of the subject, and slightly behind, to illuminate the hair without adding light to the shadow side of the face.
See Figure 8.

As a side note, the textbook perfect profile would not show the upper part of the far eye, as happened with Figure 8. This breaks up the profile of the face. In Figure 7, there is a clean line, which is actually a better pose.

Glamour Lighting

The black cover was removed from the umbrella and the light was turned around to use as a main light with the light passing through the translucent umbrella to light our subject. It was positioned above and slightly to the side of the camera. It will not have the double diffusion of a soft box, but sometimes the added specularity can be a desired effect.
See Figure 9.

Then a white reflector was placed under the camera and main light to bounce light back up into the eyes. This is a nice glamour lighting style for women who have carefully applied make up to define their facial features. This style is not as flattering with men, often highlighting the shaved beard too much. We also used the soft box as a hair and rim light by positioning behind, above, and to the side of the subject.
See Figure 10.